For me taking a pragmatic decision when it comes to art is almost an oxymoron. The reason I first picked up a pen and wrote a story had nothing pragmatic in it.

Even as a very young man, I knew that my family is like a plant. Uproot it, and it will wilt. Pluck away at it, and it will die. But leave it to thrive in the soil, untouched, and it will weather both gods and winds. It is born with the soil, and it will live so long as the soil shall live.

There are two kinds of people, those who like to sleep next to the wall, and those who like to sleep next to the people who push them off the bed.

I think that before my son was born, I didn't have a strong sensation for future. I was living in this kind of never-ending present.

In the last war, people became vocal from the right-wing point of view: if you're liberal, then you're a traitor.

It took a lot to understand that the interest in both writing a story and reading it is not in the objective dangers someone takes. You don't have to fight snakes or wake up in a strange apartment to have a story; it's about what goes on inside your mind and soul.

What connects me so strongly to Israel is the fact that I'm second generation.